This essay will compare Margaret Atwood´s dystopian novel The Handmaid’s Tale to the tv-adaptation of the novel by Bruce Miller. In the original work, the protagonist Offred narrates the story of her life in a patriarchal society called Gilead. In contrast, the viewers are guided by different sound and visual strategies in the series. One sound strategy is the use of voice-overs as the viewers can hear Offred´s thoughts in situations where she is being mistreated. In addition, visual strategies include the viewers watching the ceremony from a bird-view angle and reviewing the scene as outsiders looking in. I argue that the novel provides a deeper understanding of how it is to live in Gilead as a handmaid, as Offred, because of how the novel is told through first-person narration. Also, in both versions, Offred is objectified by the Gilead society, but in the tv-version, I believe that she is also objectified by specifics of the adaptation. The essay will focus on the objectifying treatment of Offred by comparing the novel and the series and the use of these strategies and discuss relevant terms from the story through the narrative of Offred. The analysis is divided into three passages from the novel and corresponding episodes from the series’ first season. They are chosen since the objectifying treatment of Offred is demonstrated within them. The theoretical framework is feminist theories of objectification to help me compare the novel and the series regarding this aspect, primarily, the objectification theory established by Barbara Fredrickson and Tomi-Ann Roberts. The essay, all in all, shows that the handmaids, as fertile women, in the patriarchal society of the Gilead are treated as mere objects whether through their sexuality or their reproductive function.

This thesis examines how patriarchal dystopian societies attempt to control their citizenry through the homogenization of discourse and the employment of Foucauldian panopticons. In the context of these power structures, I argue that nonviolent storytelling and restorative memory are more effective in resisting oppression than violent, openly subversive forms of rebellion. In my discussion of The Handmaid’s Tale, I examine how Gilead’s manipulation of public discourse through religious hegemony and restrictions on literacy suppresses the efficacy of individually heroic acts by characters such as Ofglen and Moira. I assert that Offred’s playful deconstruction of language, defiant remembering of her past experiences, and insistence on bearing witness to Gilead’s atrocities without the promise of a listener allows her to successfully resist power and maintain a distinct self. In the analysis of Salt Fish Girl that follows, I study how the Big Six employ a series of cooperative hegemonies to promote neoliberal policies, dehumanize Othered bodies, and rob people in diaspora of cultural memory. Though protagonist Miranda fails in a conventional sense, I conclude that she succeeds due to her remixing of Western texts, hybridization of histories and values, and role in birthing a new, more hopeful future. / Thesis / Master of Arts (MA)

In her 2007 essay “Slow Death (Sovereignty, Obesity, Lateral Agency),” Lauren Berlant asserts that “in the scene of slow death, a condition of being worn out by the activity of reproducing life, agency can be an activity of maintenance” (759). This concept emphasizes the difficulty of maintaining one’s agency while experiencing chronic exhaustion, or what can be referred to as the “wearied state.” Utilizing Berlant’s theoretical framework, this thesis investigates the concept of weariness in two dystopic texts: Margaret Atwood’s The Handmaid’s Tale (1985) and Oryx and Crake (2003). The respective protagonists of The Handmaid’s Tale and Oryx and Crake, Offred and Oryx, each struggle to maintain their agency in the dystopic societies that work to oppress them. Offred, by utilizing wordplay, locates a way to successfully navigate her weariness while simultaneously subverting these who hold power over her. Oryx, oppositely, fails to recognize the sexual power dynamics of her position as a sex slave. Oryx fails to locate her agency, which causes her to normalize her sexually traumatic past. Overall, this thesis argues that weariness need not be final if one makes no attempt to normalize traumatic experiences, remains privy to oppressive ideologies, and retains the ability to cope.

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Margaret Atwood’s novel Surfacing has received considerable critical attention on the issue of “a positive female identity” in a patriarchal society. However, given Atwood’s own stress on the fact that the novel is about the ways both genders work in relation to each other, this criticism has lacked in scrutiny of the novel’s male characters. With a relational approach to the female and male characters, this thesis argues that while creating a positive identity for its female protagonist, the novel effectively creates a rather negative one for its male characters. In order to examine certain sets of relations and the qualities which represent the most honored way of being a man in the novel, I apply the concept of “hegemonic masculinity,” which can be understood as the pattern of practices that explain male domination over women. It is indeed this hegemonic masculinity that the Surfacer rejects in her quest for emancipation. By looking at the hegemonic masculinity in Surfacing, I argue that the novel depicts very typically patriarchal characters in Joe and David and that the society is typically patriarchal. The thesis is divided into three main sections, each examining the most important sets of relations concerning Atwood’s female emancipation. First, I analyze hegemonic structures in the world of the protagonist, including the issues of power, emancipation, and complicity. Then I look into the sexual division of labor to show that the characters assume their default roles without much reflection. Finally, I scrutinize the characters’ relation to the Symbolic and how it affects their sense of identity. In each section, the analyses show that the male characters are reduced to tropes who only serve one function: to be stereotypically oppressive, patriarchal figures in order to facilitate the protagonist’s positive change and empowerment. I argue that Atwood’s failure to imagine male emancipation somewhat taints the development of female identity because the female emancipation becomes arrested.

Cette thèse analyse le corps dystopique dans La Servante Ecarlate. Elle vise à examiner les façons dont le pouvoir masculiniste subjugue les servantes à travers l'objectivation et l'effacement de leur corps, puis à analyser le corps féminin comme un élément perturbateur, un site où se produit une constante subversion du pouvoir tout au long du roman. L'introduction offre une brève discussion sur la raison derrière le choix de La Servante Ecarlate comme une étude de cas, qui est dans le but de développer le concept du corps dystopique à partir d'un point de vue féministe. Elle délimite aussi mon argument sur le corps dystopique et le pouvoir. Le premier chapitre intitulé ‟Perspectives Critiques” présente une revue critique de la littérature, introduit ma contribution à l'étude du roman, et expose mes arguments sur l'utopie féministe, la dystopie, le corps dystopique et la circulation du pouvoir. Dans le deuxième chapitre intitulé ‟Le Corps Dystopique” je démontre que la dystopie dans une certaine mesure est déjà profondément enracinée dans le présent. Cette section se concentre sur les différents aspects de la dystopie principalement la reproduction, la sexualité, la surveillance et le code vestimentaire tout en étudiant leur impact sur le corps de la servante. Ces aspects sont abordés en détail dans des sous-chapitres séparés. Le dernier chapitre intitulé ‟La Subversion du Pouvoir” examine dans un premier lieu le mode d'échange de pouvoir entre le commandant et son épouse Serena Joy. Il étudie les façons dont chacun des personnages se positionne par rapport au pouvoir afin d’exploiter le corps d’Offred. Puis, il examine l'ironie qui se cache derrière le jeu de pouvoir constant dans le roman, dévoilant ainsi la perpétuation de la dystopie corporelle étant donné que le corps de la femme ne cesse d'être l'objet de la lutte. Ce travail étudie l'expérience corporelle de la femme dans un régime totalitaire et les façons dont le corps féminin devient dystopique. Il présente le corps féminin comme la proie des hommes et des femmes, et la dystopie comme étroitement dépendante et générée par la conception de ce corps dans la société de Gilead. Mots clés: Dystopie, Corps, Pouvoir, Féminisme, Ironie, Margaret Atwood / The present thesis analyzes the dystopic body in The Handmaid’s Tale. It aims at examining the ways with which the masculinist power subjugates Handmaids through the objectification and erasure of their bodies, then analyzing the female body as a disruptive force, a site where constant powerplay occurs throughout the novel. The introduction provides a brief discussion of my reasons for choosing The Handmaid’s Tale as a case study, which includes a desire to develop the concept of the dystopic body from a feminist standpoint. It also delineates my argument on the dystopic body and power. In the first chapter entitled “Critical Perspectives”, I present a critical review of literature, introduce my contribution to the study of the novel, and expose my arguments on feminist utopia, dystopia, the dystopic body and power play. The second chapter entitled “The Dystopic Body” demonstrates that dystopia is already deep-rooted in the present. It focuses on the different aspects of dystopia mainly reproduction, sexuality, surveillance and the dress code, and studies their impact on the Handmaid’s body. These aspects are discussed in detail in separate subchapters. The final chapter entitled “Power Subversion” examines at one level the mode of power exchange between the Commander and his wife Serena Joy. It investigates the ways with which each of the characters positions themselves to power in order to take ownership of Offred’s body. At another level, it studies the irony that lies behind the constant power play in the novel, uncovering the perpetuation of bodily dystopia since the female body never ceases to be the object of struggle. This thesis examines the bodily experience of women under such totalitarian regimes and the ways in which the female body becomes dystopic. It presents the female body as the prey of both men and women, and dystopia as closely dependent on and generated by the conception of that body in the society of Gilead. Keywords: Dystopia, Body, Power, Feminism, Irony, Margaret Atwood

Huvudsyftet med denna studie har varit att undersöka hur elever och lärare i svenska 2 på gymnasiet tillsammans kan arbeta med skönlitterära verk inom sciencefiction-genren för att utveckla ett nyanserat perspektiv på omvärlden. Utöver detta har vi också undersökt målen med läsning i gy 11 och jämfört dem med målen i lpf94, för att ta reda på hur läsandets syfte och mål har motiverats och förändrats.För att exemplifiera sciencefiction-genrens potential att påverka elevers syn på omvärlden har vi valt att analysera två skönlitterära verk av Margaret Atwood: Oryx och Crake och Syndaflodens år. I analysen har tematiken analyserats med ett ekokritiskt perspektiv. För att stödja analysen har vi använt Grimbeeks (2017) avhandling Margaret Atwood’s Environmentalism: Apocalypse and Satire in the MaddAddam Trilogy och Peter Barrys (2009) Beginning Theory: An introduction to literary and cultural theory. Vi har kommit fram till att tematiken som återfinns i båda verken kan användas didaktiskt för att utveckla elevers kritiska och kreativa tänkande.För att ta reda på hur elever kan påverkas av läsandet av skönlitteratur i sciencefiction-genren har vi undersökt de olika läsarterna efferent, estetisk och kreativ läsning då sättet att läsa på påverkar resultatet av läsningen. Vi har även kommit fram till tre steg som går att följa i arbetet med skönlitteratur: att leda in elever i skönlitteraturen, under läsandets gång och efter läsandet. Utifrån dessa tre steg har vi undersökt olika teorier för lärande, tänkande och läsning. För att beskriva hur elever kan ledas in i skönlitteraturen har vi tagit stöd av bland andra Collie och Slater (1987) som menar att noveller och utdrag kan fungera väl när det handlar om att leda in elever i skönlitteraturen. Vi har även tagit stöd av Bommarco och Parmenius Swärd (2018) som menar att elever kan “skriva sig in i litteraturen” (2018, s. 58). Elever behöver även stöd och motivation under läsandets gång. För att beskriva hur lärare och elever tillsammans kan gå tillväga för att stödja och motivera läsningen har vi tagit stöd av Edvardsson (2016) som menar att elever behöver lära sig olika lässtrategier. Vi har även tagit stöd av Murphy et al. (2016) som menar att litteratursamtal är en viktig del av läsningen och bidrar till en utveckling av nya perspektiv på omvärlden.

This thesis project is centered on the female body, specifically body image, in relation to Western, cultural images of women. This is a problem that has been around, essentially, since the beginning of Western art. While different scholars argue whether or not this problem has become worse, it is nonetheless problematic that we are still, in 2018, fighting patriarchy’s control of our bodies via body image. Grounding my project in Susan Bordo’s 1993 text Unbearable Weight: Feminism, Western Culture, and the Body, this thesis explores Bordo’s argument that the female body is culturally produced through the lens of Jean Baudrillard’s theory of simulation and simulacra. Reading Bordo via Baudrillard allows us to explore this age-old problem at a new angle, giving us new reasons that explain why we are still stuck in patriarchy’s chains. Through this lens, I demonstrate how and why Third-wave feminist activism (I focus specifically on the Body Positive Movement) is failing in their attempts to reclaim the female body: the issue lies within Third-wave activism’s desire to portray othered bodies as beautiful and desirable. This becomes problematic in the era of simulacra: abject bodies do not resemble the (un)real ideal so they become “unreal” in the eyes of society. This attempt to represent abject bodies (obese, racialized, trans, disabled) as beautiful results in stigmatization and disgust towards said bodies, and thus the Body Positive Movement leaves out abject bodies because these abject bodies cannot be seen as beautiful in a society that deems them unreal. I argue that in order to reclaim the female body, we must first reclaim the mind side of the mind/body dualism before we can successfully reclaim our bodies. To demonstrate how this is possible, I use Margaret Atwood’s novel Lady Oracle as a case study that not only shows how the female body is culturally produced in the era of simulacra, but also allows us to see how reclaiming the mind side of the binary does allow the protagonist, Joan, to reclaim her past and body as her own, without shame. It is through fiction that reality is represented, and I conclude my thesis with my own personal anecdotes, showing how resistance via fiction can transcend into real life and point to a new, hopeful future.

This study examines the use of the fairy tale intertext in contemporary Canadian womens fiction. In using specific fairy tale plots, themes, motifs, and/or characters within their works of fiction, women writers of the twentieth and twenty-first centuries purposefully express their goal for the revival and continuity of the female narrative voice and sense of agency. To explore the fairy tale-fiction relationship, Margaret Atwoods Alias Grace and Anne Hberts Kamouraska are approached from what fairy tale scholar Jack Zipes has constructed as the theory of contamination of the fairy tale genre. The fairy tale genres integration into contemporary fiction represents an important development where fairy tale narratives are critically reread so as to bring out deeper meanings for the contemporary audience. / Comparative Literature

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